A Los Angeles native with roots in both the movie biz (he helped produce Requiem for a DreamandThe House of Yes) and the start-up world (he co-founded the photo-distribution site MediaVast, which was acquired by Getty Images), Simchowitz emerged as an enthusiastic flipper and viral market-maker during the last art boom, becoming known for his bracingly Darwinian, accelerationist perspective in a field traditionally known for caution, deliberation, and slow connoisseurship. The New York Times labeled him “the art world’s patron satan,” a catchy sobriquet that has stuck; Jerry Saltz called him a “Sith Lord from the Brotherhood of Darkness,” and an avatar of “the New Cynicism.”

Unsurprisingly, given the irresistible appeal of extremity, Simchowitz has also earned many fans—among them hot-money collectors, dealers on the make (like Johann König), hungry-eyed artist ingenues, and professional gamblers—as well as the watchful attentions of industry leaders with their fingers to the wind. (Art Basel director Marc Spiegler warned that “gallerists disregard Stefan at their peril.”)

Today, Simchowitz and his boutique team advise artists and clients alike on how to benefit from the market’s turbulence, advocating their services through his website Simco’s Club and his influential feeds on Instagram and Facebook. Many reputable galleries refuse to do business with him, fearing he poses a risk to their artists’ markets—the opposite of the legacy collections and institutions where they hope to place work. He, in turn, largely sees these galleries—and their overarching system—as corrupt, hidebound, inefficient, and philosophically juvenile.

So, who better to talk to about the state of the art gallery? Ask a fox their perspective on a fenced-in chicken coop and you may not get the most objective answer, but you will get some strongly held views. Here, Artspace editor-in-chief Andrew M. Goldstein spoke to the controversial, highly intelligent insurgent about where he sees the art market going, and the opportunities to be found in the present reckoning for art galleries.

There are a lot of galleries that are having a tough time at the moment, and the reasons are well known: The art market—together with the overall luxury market—has slowed; the cost of doing business has gone up due to fairs, rising rents, and a relentless drive to expand and keep artists; and blue-chip galleries are proving very tough competition. Why are the galleries having such a tough time?

The blue-chip galleries are really monopolistic formations of culture, and they’re essentially interested in the tuna-belly sushi of the art world, which is the estates of dead white male artists that generate the bulk of their revenue. Compared to them, everyone else in the system is just set decoration, and it’s within this structure that mid-size and small galleries are enticed to do these fancy fairs and hire a fancy curator and take on other costs. They are almost like cannon fodder in a war, you know—the foot soldiers you send out to exhaust the troops on the other side. These galleries are literally the cannon fodder of the culture industry. Then, after everyone has had a nice experience walking around the smaller galleries in a daze of pseudo-discovery, the big galleries have the prize spaces that people can tumble into and spend some real money.

The cannon fodder? They can maybe last two to six years. They opt into this programmatic system of value where they say, “Oh, this young artist was just bought by an institution!” It’s crazy. I have had countless conversations with collectors about 27-year-old artists where they ask, “What institutional shows are they doing, which institutions are collecting them?” I’m like, “The guy is 27 years old! He doesn’t need to be collected by institutions for a decade.”

But there’s this ridiculous cycle that has fetishized the power of quasi-institutional curatorial elite, and these guys are so intellectually corrupt and corroded by the vapor climbing up their assholes that they have essentially lost their compass of what is actually the art that is interesting in our times. Just look at Contemporary Art Daily, which is really useful as far as it aggregates what gallery curators find interesting at that time, and it’s completely and utterly predictable—there’s never anything you see that is not predictable. It’s like a conformed architecture of culture that gets distributed.

What would you say is the important service that a gallery provides?

The gallery does business off its artists, so it keeps food on the their table, it keeps the machine running for the artist’s studio, it communicates with collectors and curators as an intermediary for the work, it puts together a CV, and it publishes books if it can. A good gallery does this, and there are many good galleries. I just bought a bunch of artwork from Mihai Nicodim, who is a gallerist in L.A from Romania who brought Adrian Ghenie to America. His was the first gallery to represent Ghenie with Plan B, and he was a guy who sold a lot of Oscar Murillo to me. He is completely easy and unpretentious to deal with.

Adrian Ghenie

Unfortunately, most galleries conform to a set of exclusionary ideals and principals that have failed the artist and the system at large. And there are functions that a basic gallery does properly, but those functions can be replaced by different entities—they can be sourced out. Certain things can be done internally in the artist’s studio, like book publishing and CV-building, for instance.

Let’s establish the functions of galleries that are beneficial. You mentioned supporting artists, building their CVs, and being an intermediary to collectors. By definition, they also have a space to put on shows, no?

They provide an exhibition solution, which is critical. They provide other absolutely critical functions too, but they do it in a way that is inefficient. They don’t realize that they are over-invested in physical space, over-invested in art fairs, under-invested in book production, under-invested in purchasing works from the artists upfront. They are like trained monkeys, behaving in certain ways. Only those galleries that ignore the noise are able to build sustainable businesses. A gallery that is out of business is a gallery that cannot provide the functions that are required for an artist to stay in business.

So, yes, there is a checklist of things that galleries do and that are good. But the crisis really exists within the mid-level and small gallery system, which is essentially having its lunch eaten by the big gallery system, and by status-obsessed artists who are taking advantage of their mobility. Look at how Rachel Uffner just lost Sam Moyer. Over six years, Uffner built Moyer from nothing into what she is today, and then Sam Moyer leaves to go to a bigger gallery just as Uffner moves into a bigger space, leaving her holding the bag.

The relationship between gallery and artist is complicated—but then again, Uffner is closed-minded and impossible to deal with for someone like me. After my experience of trying to buy Hilary Harnischfeger’s work from her a decade ago I would never even consider giving her a call, because it would be a waste of fucking time, so why bother? They have set up the situation where, on the one hand, the artist is the soul of the gallery, but, on the other hand, where the artist can leave. Because there is no way Uffner can build a business that’s sustainable with the way that she operates. They have this idea of how a buyer is supposed to behave, so they alienate collectors with this system that is quite contentious across the board, and that leaves the gallery in crisis.

The question is, how do you mediate a new form of relationship with the artist? It’s difficult, because artists are convinced of what they should want by their peer group. If you look at Joe Bradley, Bradley was made by Canada Gallery, and then Gavin Brown swooped in when Joe Bradley was literally just taking off. Joe Bradley would have taken off with or without Gavin—the plane had already left the runway, but Gavin just came in and took all the credit. So, the perception of where the credit lies is oftentimes completely misdirected by opportunistic, bigger-sized galleries who nab the bird just as it’s launching into mid-air, like with Eva Presenhuber and Sam Falls. Subsequently, what happens is that the market weakens and doesn’t pan out like it should.

What’s fascinating is that there’s a contradiction embedded at the heart of this, which is that lower and mid-range galleries have beautiful spaces, they provide a great context for exhibitions, they nurture up-and-coming younger artists—often right out of graduate school—and they create an exciting context that the art world can enjoy, entirely for free. But then, when the artists start to make real money, they bring those gains with them if they leave for a bigger gallery. In that way, the smaller, incubator-style galleries are almost a for-profit business trapped in a non-profit body.

One hundred percent. My system is different. I believe that the quality of the production of art coming out of the studio is central to the sustainability of the practice, and that sustainability is a function of having stable working capital financing the artists within their studio practice so it can develop and grow, unimpeded by the stress of essentially exogenous factors like not getting paid by a gallery, dealing with shipping, and dealing with multiple galleries—half of whom don’t pay you. You need to centralize and rebuild this relationship between artist as producer and gallerist as distributor.

My solution is you put yourself in the middle as a sort of wholesaler financier to manage and mediate this complex set of relationships where you have leverage over the artist, so the artist can’t behave like Bolivia, a country where you invest a billion dollars in building a refinery and the minute you finish the Bolivian government confiscates it from you and privatizes it. That, effectively, is what happens when someone like Sam Moyer leaves someone like Rachel Uffner. Uffner built the refinery over six years, and then Moyer is the Bolivian government privatizing her cultural production—that’s how I see it.

It’s not enough to just change the gallery—you have to change the whole system. So instead of the entire fine-art world looking like Contemporary Art Daily—this kind of supposedly diverse, homogenized collection of artists who are distributed by these fancy galleries and institutions—you have to change the way you look at art, how you think of art, how you measure the cannon, how you re-measure the cannon. You have to re-calibrate the entire system. And the system is now in the process of being recalibrated, because gravity is a force that no one can resist. It is the ultimate purveyor of truth, and all of these ideas and ideals are basically coming back to earth, effectively.

From a fundamental standpoint, do you think it is easier to sell something if you have a gallery or if you don’t have a gallery?

It’s easier to sell something if people want it, and if it’s good. Big galleries pretend to sell works, but 50 percent of the artists, at Hauser & Wirth, Zwirner, Gagosian, blah, blah, blah, probably do under half a million in gross sales a year. Everyone thinks there is this massive business, but there isn’t. It’s all an illusion—just watch Adam Curtis’s HyperNormalisation. Until we get rid of that illusion, we are not going to be able to build an authentic, healthy, sustainable system that actually supports artists of diversity producing art all over the world. You have to have some equality.

You want to talk about art, look at Mark Grotjahn making $50 to $70 million a year, selling paintings directly out of the studio for $10 million. Look at Mark Bradford making $20 to $25 million a year. These are no longer situations of the artist as a suffering individual. Artists are the ultimate beneficiaries of successful industry strategies in a way that is akin to movie stars in the 1980s. We have to come up with a much more realistic relationship with artists than this. Some people come up to me and brag, “I love artists, I love art—it is just about the art for me,” as if I am some evil character who hates art and artists. But the current system is completely obscene in its impracticality.

What is amazing about this environment where everything has fallen apart is that I would have thought the galleries would have said, “Ahh, I see the light! We are going to change, we are going to open up.” They haven’t. They have dug in their heals. We have to break the system. We have to open it up. I systematically try to do this—successfully, I might add.

You sell art, you work with artists, you advise clients. Are you a dealer? Are you a gallerist?

I am everything and nothing.

Can you elaborate?

The key is to be a Swiss Army knife. As Bruce Lee says, “You must be shapeless, formless, like water. When you pour water in a cup, it becomes the cup. When you pour water in a bottle, it becomes the bottle. Be like water my friend.” You have to adapt. You have to be what you need to be in order to get things done. Every great dealer, every great gallerist in history has been a greater collector than most of their collectors. Every great dealer, historically, has been a great collector—Yvon Lambert, Heinz Berggruen, Ernst Beyeler—because every great dealer ultimately wants to collect the artwork themselves. With dealers who do not collect in depth, there is no way they can be aligned with the interests of their artists.

Let’s look at the way you are operating, because one thing that happens when you dematerialize the art from its traditional gallery/dealer context and start using alternative channels and strategies to sell it is that things speed up like crazy. They have a saying in traffic school: speed kills. Does that apply here?

Speed kills? We’re not talking about a car. I’ve got news for you, speed doesn’t kill Usain Bolt. I had an artist last week say, “Oh, it’s going too fast, I have to be careful. I’m going to show in shitty galleries, because I’m scared of what’s happening.” If I sat in a bar with Pablo Picasso in 1920, do you think he would say, “Oh, I’m going to be careful and not promote my ideas because I’m moving too fast as an artist”? No, he is Pablo Picasso, and neither would de Kooning, or Koons, or van Gogh. They don’t think about these things—they produce. They don’t think, “Oh, well, speed’s going to kill my career.” It has nothing to do with that. Do you tell Usain Bolt not to try and break the world record, because if he does he might never be able to do it again? No, you go for it!

But we just went through this Zombie Formalism period, and a lot of those abstract painters who churned out tons of canvases to meet frenzied demand have now seen their markets disintegrate, and their reputations sink. It all happened very quickly, and ended in twisted wreckage.

Because they were greedy and they were stupid. A car whose tires are not properly screwed is bound to crash if it goes fast, but if the car is well-built it can withstand speed. They were greedy, and I dealt with most of them. I talked to them and they were like, “I consulted 10 different people and they said I overproduced!” It is not that the speed killed them, they killed themselves. Their greed and stupidity killed them. There is this idea that artists were taken advantage of and moved too fast, but they couldn’t resist the opportunity to make money.

Every single artist who collapsed—Parker Ito, Michael Manning, all of them—I watched them first-hand alienate their initial collectors, not listen to advice, overproduce, and let their galleries get greedy and think they have 10 times more collectors than they actually did. I watched it happen. I would buy 10 works and then call the gallery and say, “Don’t sell these ones—don’t sell so much!” They said, “Oh, we don’t need you anymore, because we can’t let everyone know that you bought 10 works and then not let 50 people other people also buy 10 works.” It has nothing to do with speed, it’s got everything to do with greed and stupidity. You don’t say a fast-moving vehicle crashes because it moves fast. It crashes because it crashes.

What if the vehicle was not supposed to go that fast? Sometimes you might have a Ferrari, and sometimes you might have a Pinto. What if there’s someone in the back seat of the Pinto yelling, “Faster, faster, faster!” and the driver doesn’t know any better and then the car explodes? That seems to be what happened a lot with those artists. And it was pretty clear from the outset that none of them were Picassos or van Goghs.

No, they weren’t. Most of these guys weren’t meant to be going that fast, but it wasn’t some evil character making them go that fast. It was themselves. It was their own greed, their own stupidity, their own short-sightedness, their own arrogance. It’s that same kind of short-sightedness that damages everything. Sometimes you need to move fast, sometimes you need to move slowly, and the key is to have someone who can help regulate that. When you don’t you’re in trouble. The artist I manage, Petra Cortright, is doing very well today. She is one of the few people from that era who is not a casualty of the market, and this is evident to every single person who watches the market. Do you think that is arbitrary? Petra Cortright, the only one I manage out of that whole Post-Internet generation, was loyal to me and stuck with me through thick and thin. She is doing fine.

Petra Cortright

She is versatile and talented.

She is versatile and talented, but she has also been well-managed.

But, to return to the idea of speed, you have been accused of all kinds of monstrosities, but the worst thing you have actually been accused of specifically and repeatedly is artificially increasing an artist’s inventory by presenting components of larger artworks as standalone pieces. There are reports that you did this with Ibrahim Mahama, when you sold 300 small parts of an enormous jute-sack installation as individual “paintings,” and also with Amalia Ullman, who said you cut up a large work and sold it in the same piecemeal way. That does speed up an artist’s production by bringing many extra works into the market.

First of all, that story about Ibrahim Mahama is bullshit. Number one, it was proven to be incorrect. His gallerist in Italy, I believe, basically changed the way Ibrahim thought of me. It is a false story. And with Amalia Ullman, I didn’t cut it up and try to speed it up—it’s a false narrative created by the New York Times, which mischaracterized my relationship with Amalia. It was a completely false negative narrative constructed by the media to create a negative story, and it did me damage. It was incorrect. I cannot defend something that is technically false. It is incorrect. This speed thing is the equivalent to, “Jews eat Christian babies—be careful of Jews.”It is absurd.

I work with them as an intermediary, making sure I buy a lot of material so that through ownership of their work my interests are aligned with them. I make sure that they receive the right advice about what to do. I don’t have a contractual relationship with them, but I am invested in their careers’ success and in their making the right decisions—and that is singularly a function of me owning their material, simple!

That is why dealers who own the material of their artists are unilaterally aligned with the artists they work with. It’s a very simple thing: all you need to do is own the art and the rest takes care of itself. And, to the best of my ability, I form a deep relationship with any artist that I own in depth. Some relationships are deep, others not so deep—some don’t need me as much. Others have decent gallery systems and have their own mechanisms in place that they have developed, or that I have helped them develop. Then they go on to prosper on their own. It’s a simple relationship.

So you are more like a tech start-up incubator, where you invest in the beginning and buy up a piece of the company at low cost.

Of course it’s in the beginning. But you invest in the beginning, you invest in the middle, and you invest in the end. You hopefully continue. You are a shareholder, a stakeholder in their cultural production, and you hope to attract other stakeholders in their cultural production because you need many stakeholders and partners to make it successful. So it is a very different role. A gallery is not a stakeholder but a bouncer at a nightclub to ensure they are letting in the right people. My job is to find stakeholders who can really help the artists long-term at varying degrees. Small stakeholders, large stakeholders—every collector I engage with becomes a stakeholder in the process. They must be communicative, they must understand strategy, they must understand whether I overcharge them for work or undercharge them for work. There is some element of partnership. There is never a formal agreement with the artists. It’s a very simple relationship.

Zachary Armstrong

Who would you not sell to?

I wouldn’t sell to anyone who I believe would do things that are harmful to the long-term best interests of my artists. But it has nothing to do with like, “Oh, the guy is going to flip it at auction tomorrow.” You need to be tactical and strategic.

Who is an example of somebody you see as harmful to the best interests of one of your artists?

A client of mine, Abdullah Al Turki, sold a Petra Cortright at auction that I sold to him for $22,000. He’s a fancy collector, he goes to all the dinners, blah, blah, blah. I probably wouldn’t sell to him again, but not because he sold at auction. If he had said he was planning on selling it in a year, I probably would have been… well, I just don’t like the bullshit. A lot of the fancy collectors, to be honest with you, I have no interest in. I have no interest in selling Petra Cortright’s work to the Horts. I couldn’t care less. I don’t care. My metrics are totally, totally different then those of the traditional system, because I value people within the system very differently.

The gallery system is like, “Oh, Stefan Simchowitz is a terrible person, be careful of him!” Be careful of what? Orlando Bloom, Katy Perry, Nicolas Berggruen, who I was just with? Be careful of someone who has the best access in the world? A lot of these positions are profoundly incorrect because they are made by small-minded people with small visions and views of the world, and they don’t understand the big picture. I do a lot of business with different categories, so my decision-making about selling is very different. I have a profoundly different view of it.

How do you make sure that the artists you work with have opportunities to exhibit?

All of the artists that I work closely with don’t have masters degrees—they’re part of their own thing. They’re almost outsider artists who found themselves within the fine-art system. I get them galleries.

They all have galleries. Petra is with Société in Berlin, Foxy Production in New York, Ever Gold in San Fransisco, Carl Kostyál in London—she has a huge gallery network. Zachary Armstrong is represented by Jack Tilton and Joel Mesler. Kour Pour is represented by Marta Gnyp. Serge Attukwei is represented by Gallery 1957. They all have galleries.

How do you work as an intermediary between the galleries and the artists?

I just make sure of what gets sold. I help set the pricing, I help make sure there’s not too much inventory, I help make sure galleries aren’t competing against one another. I make sure that five galleries don’t have 60 works on the market at the same time. I make sure that if one gallery has a show the other gallery doesn’t have the same inventory so that it’s fair and everyone has a clean runway. I make sure there are not overlapping piles of inventory. I make sure that the gallery is not stupid enough to try to sell something an artist makes that is not sellable but to just use it like set decoration. In most galleries a guy can put a piece of toilet paper on the floor and they will try and sell it. That just creates an abundance of inventory.

What about something like the nonprofit Depart Foundation in Los Angeles, which has exhibited Kour Pour, Petra Cortright, and another artist who was in your circle, Grear Patterson, in the span of a few months. How does that arrangement work?

I help support the Depart Foundation, I also helped Cesar Garcia at the Mistake Room. I donate money to them, I donate art to them. I donated Cesar an Oscar Murillo work that he sold to raise money, and have helped Depart is a very similar way. It’s a great young foundation—it’s doing an Edward Curtis show next month, it’s doing an Ulay show, it’s building a great track record. Everyone talks about a conflict of interest with the Depart Foundation, and then I read a press release from the Swiss institute that says Lisa Schiff and Iwan Wirth have joined the board. Everyone points the finger at me, but I’m like, “Lisa Schiff joins the board of the Swiss Institute?” It’s a joke.

Oscar Murillo

But I support institutions. I give work to the Brooklyn Museum. I gave a sculpture to the Nasher last year. I’m on one of the boards of MOCA. I just joined the board of the Desert Biennial. It’s not like some conspiracy or anything. I support a lot of mechanisms because they are distribution outlets for artists, and they need institutions. I help get institutions, help with retail, finance book publishing—anything a good gallerist would do.

Do you get any kind of compensation?

No! I don’t get compensation—of course not.

So you benefit strictly through raising of the value of their work that you own in depth?

Yes. It is a very simple thing. I go to artists, ask how much a work is, and say, “I’ll buy it.” That is the complete extent of my contractual arrangement with anyone, ever. There is nothing ever more complex than that: “How much is it?” I buy it. Simple, like a 19th-century art dealer. They would go to Turner’s studio, say, “I like this painting, I like this painting, how much can I have them for?” Boom. Simple. Nothing else happens. Now I have 540 different artists in my collection, and close to 3,500 works. And I will do whatever I can to support the artists.

It’s interesting, because in some ways you seem to be acting as an agent for these artists, but in other ways not.

I don’t have a traditional agency relationship with any of the artists. There is nothing like, “Oh, I’m going to get you this deal and take a percentage,” There is no fee; there is no service. I buy the work, I support the artists, and hopefully I accrue value to the artists. You know Oscar Murillo? Early on I happened to buy 30 works, I didn’t spend a lot of money, and I have accrued a lot of value through that. I bought 20 big paintings, which probably cost me $60,000. That is now probably worth six to eight million dollars. This is totally in line with my doing whatever I can to support Oscar Murillo’s career.

I mention the agency model because you recently did a very interesting deal with ICM, one of Hollywood’s biggest talent agencies. Can you talk a bit about that partnership?

The ICM thing was an opportunity to create what I call Museum 2.0. They have a space of 120,000 square feet, they spent 10 million dollars on the renovation, they were moving to the penthouse, and eight months ago an old friend there called me up and said he needed advice on art for the space. I made it really simple. I said, “You pay for the installation, which is expensive, you publish a book, which is expensive, you pay for the storage, and we’ll make a deal. We’ll do a partnership, and we will rotate it every year. We will get everyone in ICM who doesn’t look at art to look at art, and we will get all of their clients to see the art.”

At ICM they end up getting 15,000 people a year who are visitors of note, and to get them to look at art is an amazing thing. I go to museums, but no one goes! With gallery shows, people go to the opening for 10 minutes when it’s crowded and they never see the art.

This art has lit up the agency. The guy walking around with a mail cart comes to me and says, “This is amazing—I’m seeing so much!” It’s an amazing thing. I tried to get the New York Times to cover it but they won’t cover it because it’s not open to the public, like that’s means anything. But, Katie Holmes gets to see it. Ellen DeGeneres, Usher, ICM’s other clients, their assistants, people in the mailroom, everyone gets to see it. These definitions of public and private are profoundly corroded in defining that one kind of group of people is better than another. We have to open up the definition so we can get the art out there for people to see. And the ICM install has encouraged a handful of new collectors in total engagement. Their are over 90 artists represented there, and 400 works. It is profoundly powerful.

Is this all work from your collection?

Yes, it is all my work. I think of it as taking the mountain to Mohammed and being like, “Guys, look! Look what you can buy.” And every day they’re going to walk in there and see what art can do to you. If you see the exhibition, it’s very formal, it’s hung in a museological way, it’s heavily curated, and after these people see it for 50 days in a row they’re going to think, “You know what? I need help with my office. Can you come over to my house and help me?”

It’s an extremely slow process, and one that needs to be done in a way that’s hands-on and bespoke—there’s no automation for it. And the accumulation of a huge amount of artworks allowed me to hang six paintings by this artist on one wall, 10 by this artist on another wall, five of this one. It basically let me curate solo exhibitions in the space, so people don’t just see one piece by an artist here and there in a mishmash, but can see a solo exhibit of Jon Rafman, a solo exhibit of Chris Hood, a solo exhibit of Charlie Billingham, a solo exhibit of Oscar Murillo. So they’re actually able to engage with the work in a way that is elongated, and has certain depth to it.

It’s interesting, because these big talent agencies like IMG and UTA have been getting involved with contemporary art lately, even starting to represent artists as clients.

Yeah, I know. They are trying to represent artists. They are trying to represent artists to get them a career-ending deal with a bag manufacturer. They are trying to represent artists to make a movie. There is nothing particularly interesting about it. But artists produce very specific kinds of things in a unique way.

Those kinds of deals also risk spreading an artist thin, distracting them from their studio.

So much of the system today is a game of strategy and positioning. The artists are spending more time on planes, going to art fairs, going to biennials, duh, duh, duh. They are spending more time flying around than they are building proper studio practices, and you see it in the work. You know, the best work of these artists is produced before they have success, because the minute they have success they’re on a plane flying all over the world, schmoozing with everyone. So the only work you would really want is the early work, when they are sitting in their studio, slaving away, and focused on the production. Many successful artists feel they don’t have any time to do anything.

How do you make sure that the artists you are working with don’t take on that jet-setting lifestyle?

You slow it down, and you speed it up. You speed it up by providing the working capital for the studio, and you slow it down by limiting the amount of distractions they have. Ironically, you do it by making sure they are not over-engaged—that they are not engaged to a degree where their practice will suffer. When an artist has money in the bank and they are not stressed about sending work to a fair that they may or may not be paid for then their whole rhythm changes.

Most artists don’t have someone like me. Most of them have to rely on selling their work to a gallery or a dealer, so they get a fancy dealer like Balice Hertlingand they send a work there and they end upsuffering to get paid. That period, from the inception of an artwork to production to the delivery of the money, can be two years, or never. It’s out of pocket, but they were with a fancy dealer who had fancy relationships with fancy curators. At the end of the day, there is no money there. Production slows down, and they have to move to a different studio. They cannot afford the to make a video or do something, and the factory suffers.

The factory is the most important thing for an artist. The studio is the factory, and if the studio is not stable, then nothing good can happen. If a car manufacturer, essentially, has a factory that is not stable, then the wheels fall of the car. That is the central premise. It is a very basic, basic premise. You buy the work, you own the work, you are invested without a formal contractual obligation to any artist. By nature of good will, and by basically having your interests mutually aligned, you support and market an artist.

We began by discussing the white-cube gallery model, which became so successful because it is so easily replicable. They’re more or less the same anywhere you go in the world—a minimal, white-walled, often industrially designed space where you can sparingly hang artworks at just the right height. Is what you’re doing replicable, or is it a total anomaly?

It’s a total anomaly. Because every individual has a different set of skills and a different set of relationships. So this idea of a perfectly replicable, automated system is a pipe dream, because none of the formulas work. I just watched Adam Curtis’s new documentary HyperNormalization, and he discusses how everyone has this need to find order, so what politicians do is find some sort of order that they can provide to the masses. There is no fucking order in the world we live in today.

The point is, you’ve got to find your own line down the mountain to ski, and you’ve got to stick to that line. The minute you listen to other people you have failed. But, while what I do is not replicable, there are ideas that I promulgate that people can adopt and hopefully say, “You know, I don’t have to be so fearful of being an outsider or of being criticized or of being excluded.” With the politics of exclusion, once you acknowledge the fact that you’re not really being excluded, you’re being feared—once you can psychologically prepare yourself for that—you can actually provide things to artists and clients in a way that is differentiated and in their best long-term interests.

But I can’t give you an outline of a contract you can use, because everything is variable, and the search for order in this world is over, because no one is in charge. We live in a non-linear, nonhierarchical environment where hierarchies appear and then disappear, and the key is building systems to respond to that creatively and in an efficient way.

I’ve been fortunate to attract some very significant clients and engage with them in ambitious projects, like Nicolas Berggruen, who is building this massive foundation behind the Getty that has Herzog & de Meuron as the master planner and a Tadao Ando side building. That has been a fantastic project to work on closely with Nicolas and document. I have the privilege of having people who watch what I do and are attracted to my vision, and it’s very exciting to service them. At the end of the day, I’m a service provider for my clients.

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Welcome to Artspace

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Thank you for visiting Artspace.com (the "Site") owned and operated by Artspace LLC. ("Artspace"). Your use of the Site indicates that you have read, understood and agree to these terms of use ("Terms"). If you do not agree to these Terms, you may not access or use the Site. We may modify the Terms from time to time without notice to you. The provisions contained herein supersede all previous notices or statements regarding our Terms with respect to this Site. We encourage you to check our Site frequently to see the current Terms in effect and any changes that may have been made to them. By using the Site following any modifications to the Terms, you agree to be bound by such modifications.

Use of the Site

Artspace provides you with access to and use of the Site subject to your compliance with the Terms and the Site's Privacy Policy. No material from the Site may be copied, reproduced, republished, uploaded, posted, transmitted or distributed in any way, except for as specifically allowed in the Site.

The Site, including all of its contents, such as text, images, and the HTML used to generate the pages ("Materials"), are our property or that of our suppliers, partners, or licensors and are protected by patent, trademark and/or copyright under United States and/or foreign laws. Except as otherwise provided herein, you may not use, download, upload, copy, print, display, perform, reproduce, publish, modify, delete, add to, license, post, transmit, or distribute any Materials from this Site in whole or in part, for any public or commercial purpose without our specific written permission. We grant you a personal, non-exclusive, non-transferable license to access the Site and to use the information and services contained here.

Your Account and Access

The Site is available to users 18 years and older, who are residents of the United States and who have not been suspended or removed by Artspace for any reason. You represent that you are a resident of the United States of America and that you are not a person barred from receiving services under the laws of the United States or other applicable jurisdiction. In consideration of your use of the Site, during registration and at all times you voluntarily enter information into your account, you agree to give truthful, accurate, current and complete information about yourself. We reserve the right to revoke your account, refuse service, remove or edit content it its sole discretion for any reason at any time including as a result of a violation of these Terms of Use, without notice. Accounts are void where prohibited by law.

Copyright Infringement. Notice and Take Down Procedures.

If you believe that your work has been copied in a way that constitutes copyright infringement, please provide our copyright agent the following written information: (i) an electronic or physical signature of the person authorized to act on behalf of the owner of the copyright interest; (ii) a description of the copyrighted work that you claim has been infringed upon; (iii) a description of where the material that you claim is infringing is located on the Site; (iv) your address, telephone number, and e-mail address; (v) a statement by you that you have a good-faith belief that the disputed use is not authorized by the copyright owner, its agent, or the law; and (vi) a statement by you, made under penalty of perjury, that the above information in your notice is accurate and that you are the copyright owner or authorized to act on the copyright owner's behalf. Our copyright agent for notice of claims of copyright infringement on the Site can be reached as follows:

Copyright Agent:

If you become aware that material appears on this site in violation of a copyright please notify us by email at editor@artspace.com

Rules and Limits on and Modifications to the Site

We reserve the right, for any reason, in our sole discretion and without notice to you, to terminate, change, suspend or discontinue any aspect of the Site, including, but not limited to, information, products, data, text, music, sound, photographs, graphics, video, messages or other materials ("Content"), features and/or hours of availability, and we will not be liable to you or to any third party for doing so. We may also impose rules for and limits on use of the Site or restrict your access to part, or all, of the Site without notice or penalty. We have the right to change these rules and/or limitations at any time, in our sole discretion.

Specific Prohibited Uses

The Site may be used only for lawful purposes by individuals using authorized services of Artspace. You are responsible for your own communications, including the upload, transmission and posting of information, and are responsible for the consequences of their posting on or through the Site. Artspace specifically prohibits any use of the Site, and requires all users to agree not to use the Site, for any of the following:

Posting any information which is incomplete, false, inaccurate or not your own;

Impersonating another person;

Constituting or encouraging conduct that would constitute a criminal offense, giving rise to civil liability or otherwise violate any city, state, national or international law or regulation or which fails to comply with accepted Internet protocol;

Posting material that is copyrighted or otherwise owned by a third party unless you are the copyright owner or have the permission of the owner to post it;

Posting material that reveals trade secrets, unless you own them or have the permission of the owner;

Posting material that infringes on any other intellectual property, privacy or publicity right of another;

Transmitting or transferring (by any means) information or software derived from the site to foreign countries or certain foreign nations in violation of US export control laws;

Attempting to interfere in any way with the Site's or Artspace's networks or network security, or attempting to use the Site's service to gain unauthorized access to any other computer system.

Abusing the Invite a friend benefit in any way, including but not limited to, inviting yourself multiple times and under different aliases and/or under different email addresses

Abusing special discounts, awards or incentives offered by Artspace. Unless otherwise specified, only one offer is value per person, maximum two per household.

Security Rules

Violations of system or network security may result in civil or criminal liability. We will investigate occurrences and may involve, and cooperate with, law enforcement authorities in prosecuting the user or users who are involved in such violations. You are prohibited from violating or attempting to violate the security of the Site, including, without limitation, the following:

Accessing data not intended for you or logging into a server or account which you are not authorized to access;

Attempting to probe, scan or test the vulnerability of a system or network or to breach security or authentication measures without proper authorization;

Attempting to interfere with service to any user, host or network, including, without limitation, via means of submitting a virus, worm, Trojan Horse or other harmful code to the Site, overloading, "flooding", "mailbombing" or "crashing"; or sending unsolicited e-mail, including promotions and/or advertising of products or services, or

Forging any TCP/IP packet header or any part of the header information in any e-mail or newsgroup posting.

User Submitted Content

You are responsible for any User Content you post to the site. By "User Content" we mean any content you post to the site, which may include reviews, comments, image uploading, captions, participating in forums, curating or creating art collections and other such features that allow you to add content to the site. We are not responsible for the personally identifiable or other information you choose to submit as User Content and we reserve the right to remove any User Content generated by any user at our sole discretion. You understand that once you post User Content, your content becomes public. We are not responsible for keeping any User Content confidential so if you do not want anyone to read or see that content, do not submit or post it to the Site.

If we allow you to upload User Content, you may not:

provide User Content that you do not have the right to submit, unless you have the owner's permission; this includes material covered by someone else's copyright, patent, trade secret, privacy, publicity, or any other proprietary right;
forge headers or manipulate other identifiers in order to disguise the origin of any User Content you provide;
provide any User Content that contains lies, falsehoods or misrepresentations that could damage us or anyone else;
provide User Content that is illegal, obscene, defamatory, libelous, threatening, pornographic, harassing, hateful, racially or ethnically offensive, or encourage conduct that would be considered a criminal offense, give rise to civil liability, violate any law, or is otherwise inappropriate;
impersonate anyone else or lie about your affiliation with another person or entity in your User Content;
use meta tags or any other "hidden text" utilizing any of our or our suppliers' product names or trademarks in your User Content; or
provide User Content which disparage us or our vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates.
Except as otherwise specifically provided, if you post content or submit material to the Site, you grant us a nonexclusive, royalty-free, perpetual, irrevocable, and fully sub-licensable right to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, and display such content throughout the world in any media. You represent and warrant that you own or otherwise control all of the rights to the content that you post; that the content is accurate; that use of the content you supply does not violate these Terms or any law or regulation; and the content will not cause injury to any person or entity. We have the right but not the obligation to monitor and edit or remove any activity or content. User Content comes from a variety of sources. We do not endorse, or support any views, opinions, recommendations, or advice that may be in User Content, nor do we vouch for its accuracy or its reliability, usefulness, safety or intellectual property rights of any User Content. We take no responsibility and assume no liability for any User Content posted by you or any third party.

Selling on Artspace

Auctions

Artspace may make available the Artspace Auctions where sellers may offer goods for sale by auction to the highest bidder. Artspace is independent from the buyers and sellers that participate in the Artspace Auctions and no agency, partnership, joint venture, employee-employer or franchiser-franchisee or fiduciary relationship is intended or created by the operation of the Artspace Auctions. Artspace may, but is not obligated to provide intermediary services between the buyer and sellers using Artspace Auctions. Artspace reserves the right in its sole discretion and at any time including during an auction to refuse or revoke permission for sellers to offer goods or for buyers to submit bids.

How bidding works

All bids shall be in United States Dollars. Participating sellers and buyers may be required to register on the site, may select a username and password, and must agree to be bound by these terms. Buyers must register a valid credit card with Artspace and agree to pay a buyer’s premium to Artspace which shall be added to the successful bid price. The buyer’s premium shall be equal 15% of the successful bid price for bids on some auction items. The successful bidder shall pay the purchase price plus the buyer’s premium as the final purchase price. The agreements between the buyers and sellers shall not be governed by the U.N. Convention on Contracts for the International Sale of Goods, the application of which is expressly excluded.

Bids are submitted by clicking the “bid” button on the site; all bids are final and cannot be amended or retracted once submitted. All bids will be recorded by Artspace and such recording shall constitute the final and conclusive determination and record of each bid and the highest bid.

Seller's reserve price

Sellers may set a minimum price for an auction item (“Reserve Price”). A Seller is not required to accept any bids for less than the Reserve Price. If bids are placed below the seller’s Reserve Price, the bidder will be notified that the bid is below the Reserve Price.

Artspace bidding

Artspace may, through employees, submit bids on auction items that are subject to a Reserve Price. Artspace may (1) submit the opening bid on behalf of the seller at the Reserve Price, (2) place single or successive bids on behalf of the seller in response to other bids that are below the Reserve Price. In no circumstances will Artspace place a bid that is above the Reserve Price.

Place your bid

Enter any bid amount as long as it is greater than or equal to the "Next Minimum Bid" (displayed below the bid field) and click on "Place Bid". This will automatically place a straight bid at the next increment and hold the bid you submitted (if higher than the "Next Minimum Bid") as your "Maximum Bid". You will receive an email confirmation of your bid and will be notified by email when you are outbid.

By placing a bid each buyer irrevocable authorizes Artspace to immediately charge Buyer’s registered credit card an amount equal to the buyer’s premium.

Please note that if the auction moves to a physical live event (the auction page will specify this and the bidder will be noticed as such by email), the highest bidder after the close of the online auction will be the opening bid at the event and will be notified within 48 hours after the event if the bid is the final winning bid or been outbid by someone at the event.

Bidding Increments

When placing a bid, enter the maximum amount you are willing to pay for the work. Entering your "Maximum Bid" does not necessarily mean you will pay that price, you may pay less. The Auction system will Proxy Bid on your behalf up to the amount of your Maximum Bid. Once you enter your Maximum Bid, your current bid displayed will be in the amount of the "Next Minimum Bid." As the auction proceeds, Artspace will compare your bid to those of other bidders. When you are outbid, the system automatically bids on your behalf according to the bidding increments established for that auction up to (but never exceeding) your maximum bid. We increase your bid by increments only as much as necessary to maintain your position as highest bidder. Your maximum bid is kept confidential until it is exceeded by another bidder. If your maximum bid is outbid, you will be notified via email so that you can place another bid.

If the auction is a benefit auction or an auction with a physical event (which will be noted on the auction page), all online bids will be transferred to that event and Artspace or the organization running the event will continue to monitor your bids in person and continue Proxy Bidding on your behalf up to your maximum bid. Winning bidders will be notified within 48 hours after the close of the auction. If you are not contacted by Artspace, you were not the highest bidder.

Closing the Auction

Upon the close of each auction Artspace shall separately confirm the highest bid to the seller and notify the buyer submitting the highest bid that the bid was successful and the amount of the buyer’s premium due to Artspace to be charged to buyer’s credit card. Artspace shall thereupon charge buyer’s credit card in the amount of the buyer’s premium.

Upon receipt of the buyer’s premium Artspace shall email both the successful buyer and seller and shall provide each with the name, address, telephone number and email address of the other; buyer and seller are thereafter solely responsible for arranging for the transmission of payment of the purchase price within 24 hours of the transmission of the Artspace email and for prompt shipment of the goods after receipt of good funds. If for any reason after Artspace’s initial confirmation of the successful bid the buyer cancels the transaction or fails to make payment to the seller, the buyer shall remain liable to Artspace for the full buyer’s premium and Artspace reserves the right to retain such buyer’s premium in addition to any other remedies it has at law or equity.

Any dispute with respect to the auction of any item shall be resolved between buyer and seller and without the participation of Artspace. Seller is solely responsible for collecting payment from the buyer. Artspace does not guaranty and is not responsible in any way for the performance of buyers or sellers participating in the auction.

Responsibilities of Auction Buyers and Sellers

Goods offered on Artspace Auctions must be tangible goods that meet the requirements of the Site. Sellers shall not offer any goods for sale or consummate any transaction initiated on Artspace Auctions that violates or could cause Artspace to violate any applicable law, statute, ordinance or regulation. Artspace shall have sole discretion as to whether a specific item meets the requirements of the Site, which determination is final.

Sellers offering goods shall post a description of the goods offered and may set a minimum reserve price, a minimum overbid amount and the termination of the auction of the goods. Sellers agree to accept the highest bid above their set reserve price and to deliver the offered goods to the buyer submitting such highest bid. Any goods offered using a seller’s registration log in information shall be deemed by Artspace and any bidding buyer as being offered or authorized by that seller. Sellers are solely responsible for the description, condition, authenticity, and quality of the goods offered. Sellers represent that they are in compliance with all applicable laws, including without limitation those regarding the transmission of technical data exported from the United States or the country in which the seller resides as well as the restrictions on import or export of goods from the seller’s country to the buyer’s country.

By posting goods on the Artspace Auctions each seller represents and warrants that he/she holds free and marketable title to the goods offered and that the sale to any buyer will be free and clear of any and all liens or encumbrances. Sellers agree that Artspace Auctions will publish images and information in English relating to the goods offered by sellers. Sellers are solely responsible for descriptions of goods and all other content provided to Artspace by seller. Each seller agrees that Artspace may reformat content submitted by sellers in order to best serve the needs and formatting of the Artspace Auctions. Sellers grant Artspace a perpetual, irrevocable, royalty-free license to use the listing information in other areas of the site in our sole discretion.

Sellers are responsible for shipment of goods to successful bidding buyers upon receipt of the purchase price. Sellers must make shipment promptly on receipt of good funds from buyers. Sellers are responsible for collecting any and all applicable taxes from the successful buyer and for remitting such taxes to the applicable taxing authority.

Buyers are responsible for determining the value, condition and authenticity of the goods. Buyers participating in the Artspace Auctions represent and warrant by placing any bid that they are ready, willing and able to pay the purchase price bid, all applicable taxes and the buyer’s premium all within 24 hours of the close of the auction if they are the successful bidder. Any bids submitted using a buyer’s registration log in information shall be deemed made or authorized by that buyer. Each buyer placing any bid represents and warrants that such bids are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state laws. Each buyer is responsible for payment of New York State and local sales tax, any applicable use tax, any federal luxury tax or any other taxes assessed on the purchase of the goods. The buyer is solely responsible for identifying and obtaining any necessary export, import, or other permit for the delivery of the goods and for determining whether the goods are subject to any export or import embargoes.

Artspace not Responsible for Auction Submissions; No Representations or Warranties

Sellers and buyers agree that Artspace is not responsible for and does not make any representations or warranties (express or implied) as to the goods offered, including without limitation as to merchantability, fitness for a particular purpose, the accuracy of the description of the goods, the physical condition, size, quality, rarity, importance, medium, provenance, whether the goods are subject to export or import restrictions or embargoes, shipment or delivery, packing or handling, the ability of the buyer to pay, the ability of the seller to collect the purchase price, or any other representation or warranty of any kind or nature. Artspace is not responsible for any errors or failures to execute bids placed online, including, without limitation, errors or failures caused by (1) loss of connection to the internet or to the online bidding software by any party, (2) a breakdown or failure of the online bidding software, or (3) a breakdown or failure of any seller’s or buyer’s internet connection or computer or (4) any errors or omissions in connection with the bidding process.

Open Positions on Careers Pages

We may list open employment positions on this web site. These postings are for informational purposes only and are subject to change without notice. You should not construe any information on this Site or made available through Site as an offer for employment. Nor should you construe anything on this web site as a promotion or solicitation for employment not authorized by the laws and regulations of your locale.

Privacy Policy; User Information

In the course of your use of the Site, you may be asked to provide certain information to us. Our use of any information you provide via the Site shall be governed by our Privacy Policy available at here artspace.com/privacy. We urge you to read our Privacy Policy. You acknowledge and agree that you are solely responsible for the accuracy and content of such information.

International Use

We control and operate the Site from our offices in the United States of America, and all information is processed within the United States. We do not represent that materials on the Site are appropriate or available for use in other locations. Persons who choose to access the Site from other locations do so on their own initiative, and are responsible for compliance with local laws, if and to the extent local laws are applicable.

You agree to comply with all applicable laws, rules and regulations in connection with your use of the Site. Without limiting the generality of the foregoing, you agree to comply with all applicable laws regarding the transmission of technical data exported from the United States or the country in which you reside.

Proprietary Rights

As between you and Artspace (or other company whose marks appear on the Site), Artspace (or the respective company) is the owner and/or authorized user of any trademark, registered trademark and/or service mark appearing on the Site, and is the copyright owner or licensee of the Content and/or information on the Site, unless otherwise indicated.

Except as otherwise provided herein, use of the Site does not grant you a license to any Content, features or materials you may access on the Site and you may not modify, rent, lease, loan, sell, distribute or create derivative works of such Content, features or materials, in whole or in part. Any commercial use of the Site is strictly prohibited, except as allowed herein or otherwise approved by us. You may not download or save a copy of any of the Content or screens for any purpose except as otherwise provided by Artspace. If you make use of the Site, other that as provided herein, in doing so you may violate copyright and other laws of the United States, other countries, as well as applicable state laws and may be subject to liability for such unauthorized use. We do not grant any license or other authorization to any user of our trademarks, registered trademarks, service marks, other copyrightable material or any other intellectual property by including them on the Site.

The information on the Site including, without limitation, all site design, text, graphics, interfaces, and the selection and arrangements is protected by law including copyright law.

Product names, logos, designs, titles, graphics, words or phrases may be protected under law as the trademarks, service marks or trade names of Artspace LLC, or other entities. Such trademarks, service marks and trade names may be registered in the United States and internationally.

Without our prior written permission, you agree not to display or use our trademarks, service marks, trade names, other copyrightable material or any other intellectual property in any manner.

Links from and to the Site

You may be able to link to third party websites ("Linked Sites") from the Site. Linked Sites are not, however, reviewed, controlled or examined by us in any way and we are not responsible for the content, availability, advertising, products, information or use of user information or other materials of any such Linked Sites, or any additional links contained therein. These links do not imply our endorsement of or association with the Linked Sites. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. In no event shall we be liable, directly or indirectly, to anyone for any loss or damage arising from or occasioned by the creation or use of the Linked Sites or the information or material accessed through these Linked Sites. You should direct any concerns to that site's administrator or Webmaster. We reserve the exclusive right, at its sole discretion, to add, change, decline or remove, without notice, any feature or link to any of the Linked Sites from the Site and/or introduce different features or links to different users.

Permission must be granted by us for any type of link to the Site. To seek our permission, you may write to us at the address below. We reserve the right, however, to deny any request or rescind any permission granted by us to link through such other type of link, and to require termination of any such link to the Site, at our discretion at any time.

INDEMNITY

You agree to defend, indemnify and hold Artspace LLC, its directors, officers, employees, agents, vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates harmless from any and all claims, liabilities, damages, costs and expenses, including reasonable attorneys' fees, in any way arising from, related to or in connection with your use of the Site, your violation of any law, your violation of the Terms or the posting or transmission of any User Content, or materials on or through the Site by you, including, but not limited to, any third party claim that any information or materials you provide infringes any third party proprietary right. You agree to cooperate as fully as reasonably required in the defense of any claim. Your indemnification obligation will survive the termination of these Terms and your use of the Site.

DISCLAIMER OF WARRANTIES

YOU UNDERSTAND AND AGREE THAT:

THE SITE, INCLUDING, WITHOUT LIMITATION, ALL CONTENT, FUNCTION, MATERIALS AND SERVICES IS PROVIDED "AS IS," WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY WARRANTY FOR INFORMATION, DATA, DATA PROCESSING SERVICES OR UNINTERRUPTED ACCESS, ANY WARRANTIES CONCERNING THE AVAILABILITY, ACCURACY, COMPLETENESS, USEFULNESS, OR CONTENT OF INFORMATION, AND ANY WARRANTIES OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. COMPANY DOES NOT WARRANT THAT THE SITE OR THE FUNCTION, CONTENT OR SERVICES MADE AVAILABLE THEREBY WILL BE TIMELY, SECURE, UNINTERRUPTED OR ERROR FREE, OR THAT DEFECTS WILL BE CORRECTED. Artspace MAKES NO WARRANTY THAT THE SITE WILL MEET USERS' EXPECTATIONS OR REQUIREMENTS. NO ADVICE, RESULTS OR INFORMATION, OR MATERIALS WHETHER ORAL OR WRITTEN, OBTAINED BY YOU THROUGH THE SITE SHALL CREATE ANY WARRANTY NOT EXPRESSLY MADE HEREIN. IF YOU ARE DISSATISFIED WITH THE SITE, YOUR SOLE REMEDY IS TO DISCONTINUE USING THE SITE.

ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SITE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF THIRD PARTIES ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO, AND DOES NOT MONITOR, ANY TRANSACTION BETWEEN USERS AND THIRD PARTIES WITHOUT THE DIRECT INVOLVEMENT OF COMPANY.

LIMITATION OF LIABILITY

IN NO EVENT SHALL Artspace, ITS AFFILIATES OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, AFFILIATES VENDORS, CONTRACTORS, GALLERIES, ARTISTS, INSTITUTIONS, REPRESENTATIVES OR CONTENT OR SERVICE PROVIDERS BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL, EXEMPLARY OR PUNITIVE DAMAGES ARISING FROM OR DIRECTLY OR INDIRECTLY RELATED TO THE USE OF, OR THE INABILITY TO USE, THE SITE OR THE CONTENT, MATERIALS AND FUNCTION RELATED THERETO, INCLUDING, WITHOUT LIMITATION, LOSS OF REVENUE, OR ANTICIPATED PROFITS, OR LOST BUSINESS, DATA OR SALES, OR COST OF SUBSTITUTE SERVICES, EVEN IF COMPANY OR ITS REPRESENTATIVE OR SUCH INDIVIDUAL HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY SO SOME OF THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. IN NO EVENT SHALL THE TOTAL LIABILITY OF Artspace TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION (WHETHER IN CONTRACT OR TORT, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE OR OTHERWISE) ARISING FROM THE TERMS OR YOUR USE OF THE SITE EXCEED, IN THE AGGREGATE, $100.00. WITHOUT LIMITING THE FOREGOING, IN NO EVENT SHALL Artspace OR ITS RESPECTIVE OFFICERS DIRECTORS, EMPLOYEES, AGENTS, SUCCESSORS, SUBSIDIARIES, DIVISIONS, DISTRIBUTORS, SUPPLIERS, AFFILIATES OR THIRD PARTIES PROVIDING INFORMATION ON THIS SITE HAVE ANY LIABILITY FOR ANY DAMAGES OR LOSSES ARISING OUT OF OR OTHERWISE INCURRED IN CONNECTION WITH THE LOSS OF ANY DATA OR INFORMATION CONTAINED IN YOUR ACCOUNT OR OTHERWISE STORED BY OR ON BEHALF Artspace.

You hereby acknowledge that the preceding paragraph shall apply to all content, merchandise and services available through the Site.

Applicable Law/Jurisdiction

You agree that the laws of the state of New York, excluding its conflicts-of-law rules, shall govern these Terms. Please note that your use of the Site may be subject to other local, state, national, and international laws. You expressly agree that exclusive jurisdiction for resolving any claim or dispute with Artspace relating in any way to your use of the Site resides in the state and federal courts of New York County, New York, and you further agree and expressly consent to the exercise of personal jurisdiction in the state and federal courts of New York County. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Any claim or cause of action you have with respect to use of the Site must be commenced within one (1) year after the claim arises.

Consent to Processing

By providing any personal information to the Site, all users, including without limitation users in the European Union, fully understand and unambiguously consent to the collection and processing of such information in the United States.

Any inquiries concerning these Terms should be directed to us at the address below.

Risk of Loss

The items purchased from our Site are shipped by a third-party carrier pursuant to a shipment contract. As a result, risk of loss and title for such items may pass to you upon our delivery to the carrier.

Purchasing

Artspace and its partners strive for complete accuracy in description and pricing of the products on the Site. However, due to the nature of the internet, occasional glitches, service interruptions or mistakes may cause inaccuracies to appear on the Site. Artspace has the right to void any purchases that display an inaccurate price. If the displayed price is higher than the actual price, you may be refunded the overcharge. If the displayed price is less than the actual price, Artspace will void the purchase and attempt to contact you via either phone or email to inquire if you would like the item for the correct price.

You acknowledge that temporary interruptions in the availability of the Site may occur from time to time as normal events. Also, we may decide to cease making available the Site or any portion of the Site at any time and for any reason. Under no circumstances will Artspace or its suppliers be held liable for any damages due to such interruptions or lack of availability.

Notices

Notices to you may be made via either email or regular mail. The Site may also provide notices of changes to the Terms or other matters by displaying notices or links to notices to you on the Site.

Contests

In the event of a dispute regarding the identity of the person submitting the entry, the entry will be deemed to be submitted by the person in whose name the e-mail account is registered. All drawings will be conducted under the supervision of Sponsor. The decisions of the Sponsors are final and binding in all matters relating to this contest. Sponsors reserve the right, at its sole discretion, to disqualify any individual it finds, in its sole discretion, to be tampering with the entry process or the operation of the Contest or the Website located at www.artspace.com; to be in violation of the Terms of Service of the Website; to be acting in violation of these Official Rules; to be acting in a disruptive manner, or with intent to annoy, abuse, threaten or harass any other person. If for any reason this Contest is not capable of running as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion of Sponsor, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contests, Sponsor reserve the right to cancel, terminate, modify or suspend the Contest.

Limitations of Liability

SPONSOR DOES NOT ASSUME RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERATION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO ITS WEBSITES. SPONSOR IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR TELEPHONE LINES, COMPUTER ON-LINE SYSTEMS, SERVERS, COMPUTER EQUIPMENT, SOFTWARE, FAILURE OF ANY E-MAIL OR ENTRY TO BE RECEIVED BY SPONSOR ON ACCOUNT OF TECHNICAL PROBLEMS, HUMAN ERROR OR TRAFFIC CONGESTION ON THE INTERNET OR AT ANY WEBSITE, OR ANY COMBINATION THEREOF.
SPONSOR IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE CAPTURE OF INFORMATION OR THE FAILURE TO CAPTURE SUCH INFORMATION, WHETHER CAUSED BY WEBSITE USERS, TAMPERING OR HACKING, OR BY ANY OF THE EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE CONTEST. SPONSOR IS NOT RESPONSIBLE FOR INJURY OR DAMAGE TO PARTICIPANTS’ OR TO ANY OTHER PERSON’S COMPUTER RELATED TO OR RESULTING FROM PARTICIPATING IN THIS CONTEST OR FROM OR USE OF THE WEBSITE.
IN NO EVENT WILL SPONSOR, OR THEIR PARENT COMPANIES, DISTRIBUTORS, AFFILIATES, SUBSIDIARIES, OFFICERS, VENDORS, AND AGENCIES, EACH OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR PARTICIPATION IN THIS CONTEST, ACCESS TO AND USE OF THE WEBSITE OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE WEBSITE. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE WEBSITE AND IN THIS CONTEST IS PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

Disputes

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.
In the event of a dispute as to the identity of the winner based on an e-mail address, the winning entry will be declared made by the authorized account holder of the e-mail address submitted at time of entry. “Authorized account holder is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g., business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address

Contacting Us

To contact us with any questions or concerns in connection with this Agreement or the Site, or to provide any notice under this Agreement to us please go to Contact Us or write to us at:

General Information

The Terms constitute the entire agreement between you and Artspace and govern your use of the Site, superseding any prior agreements between you and Artspace. You also may be subject to additional terms and conditions that are applicable to certain parts of the Site.

You agree that no joint venture, partnership, employment, or agency relationship exists between Artspace and you as a result of this Agreement or your use of the Site.

Any claim or cause of action you may have with respect to Artspace or the Site must be commenced within one (1) year after the claim or cause of action arose.

Our failure to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision. If any provision of the Terms is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of the Terms remain in full force and effect.

You may not assign the Terms or any of your rights or obligations under the Terms without our express written consent.

The Terms inure to the benefit of Artspace's successors, assigns and licensees. The section titles in the Terms are for convenience only and have no legal or contractual effect.

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How it Works

How bidding works

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bid Increments

Bidding increments increase at the following intervals:

Below $400: $50

Between $400 and $699: $100

Between $700 and $1,499: $200

Between $1,500 and $2,499: $300

Between $2,500 and $4,999: $500

Between $5,000 and $9,999: $1,000

Between $10,000 and $19,999: $2,000

Between $20,000 and $29,999: $3,000

Between $30,000 and $49,999: $4,000

Between $50,000 and $99,999: $5,000

Above $100,000: $10,000

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Maximum Bidding

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

Buyer's Premium & Additional Charges

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Check Out

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

Credit Card Validation

In order to secure a bid, please enter your credit card details below.
We will not charge your card but only use it to validate your bid.
We only need to validate your card once. You will be notified that you are the winning bidder
before your card is charged, and you will have the option to change your payment method at that time.

Frame

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

White Satin

Honey Pecan

Black Satin

Mat

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

Acrylic Glazing

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

Dimensions

For images up to 30" x 40"

1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.

We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

You will be redirected to Affirm to provide your information for real-time decision. Choose to pay over 3, 6, or 12 months.*

3

Enjoy your purchase immediately

Complete your purchase in Affirm and you'll be redirected to Artspace to view your order confirmation.

* Subject to credit check and approval. Down payment may be required. For purchases under $100, limited payment options are available. Estimated payment amount excludes taxes and shipping fees. Affirm loans are made by Cross River Bank, a New Jersey-chartered bank, Member FDIC. See www.affirm.com/faqs for details.